Happy Cleaners (2019)
Hyanghwa Lim, Charles Ryu, Yun Jeong, Yeena Sung. Written by
Kat Kim, Julian Kim, and Peter S. Lee. Directed by Julian Kim and Peter S. Lee
If it seems (and it does) that new Asian American filmmakers keep making the same film about generational tension, cultural identity, and familial values, I suppose it’s because we continue to deal with these issues, or because there are as many ways to work through them as there are immigrant families: my half-Japanese experience in Honolulu isn’t like someone else’s Taiwanese experience in Southern California, and they are both stories worth telling.
For these reasons, I came away from Happy Cleaners encouraged, because if nothing else, the film’s familiar conflicts for new generations of Asian Americans mean we’re still coming over, still adding color and flavor to a country that appears alternately to have come a long way in embracing us and to have regressed so we’re not being embraced at all.
Happy Cleaners is owned by the Choi family in Flushing, New York, and despite the family’s hard work, the struggling dry cleaner may find itself without a lease in a few months, thanks to a weasely new landlord from the Weasely Caucasian Landlord multipack they must sell at Movieland Costco. Daughter Hyunny is some kind of medical professional, and college-aged son Kevin (backward baseball cap, one earring in each lobe) works in a food truck with aspirations of opening his own truck on the West Coast.
Arguments abound. Kevin fights with Hyunny. Hyunny fights with her boyfriend Danny. Dad fights with Mom, and Mom fights with everyone. Chances are you’ve seen this all before, if not in a movie then for sure in real life. Graduate from college first and then you can do whatever you want. My family will never accept you if you continue to work as a janitor. Do you want to end up like me, married to someone who can barely support his family?
I admit I said, “Oh, this again” more than once during the first act of the movie, but the film won me over with very good acting by all four principals and solid filmmaking everywhere else. There are a few self-aware shots, but mostly the camera work is well done. Lighting and sound quality put this well above most other Asian American indie films I’ve seen. Mostly, the directors don’t overdirect, the actors don’t overact, the writers don’t overwrite, and the soundtrack doesn’t oversoundtrack, although the Food Network style sound effects and cutting-board close-ups get a little out of hand more than once.
The use of language in this film sets it apart even from other Korean American movies. I appreciate the writers’ willingness to give us full-on Korean through much of the film, including what the movie’s Kickstarter page calls “a mix of Korean and English … we warmly label ‘Konglish’.” There’s nothing wrong with the Korean-accented English dialogue we usually get (it’s one of my favorite accents), but it’s great to hear the family speak the language these families speak.
I am most impressed by the writers’ delicate touch with conflict resolution. The fights themselves may be pyrotechnic at times, but the make-up scenes are gentle, sympathetic, and utterly believable. One-on-one, characters share a beer, or a bite of rice, or a whole meal, looking right at each other without overdoing the apologies, or sitting alongside each other, or nudging one another with a gentle toe. Physical proximity is an act of love, strong enough to heal the casual wounds of being in a family, something I’ve not seen much of in popular media. And props to the actors for not overdoing these excellent scenes. Shout-outs go especially to Charles Ryu as Dad and Yeena Sung as Hyunny.
Happy Cleaners is a well-made movie, a slight improvement on what seems to have become a genre: the Asian American Generations Movie. Despite my jadedness, I got teary at least twice, so everyone’s doing something right. A fraction of a bonus point for being set in Flushing, where a good chunk of the German-Italian-Irish side of my family lived.
7 out of 10. Check it out.
Happy Cleaners screens at the Los Angeles Asian Pacific Film Festival Wednesday, May 8 at 9:15 p.m. The filmmakers will be in attendance.
It also screens at CAAMFest Saturday, May 11 at 2:40 p.m. and Monday, May 13 at 9:10 p.m. Director Julian Kim is scheduled to attend the May 11 screening.